At the end of October 1812, the news of a terrible fire that broke out in Moscow after the Napoleonic army entered there reached Ryazan.
The idea that two-thirds of Moscow buildings were destroyed was especially unbearable for one of the capitalâs refugees, because the architect Kazakov put all his talent into decorating the Mother See with magnificent buildings in the style of classicism and âRussian Gothicâ.
Truly Russian architect
He was born in 1738 in a family of a serf who came to the office and rose to a substantial clerical rank. Thanks to the merits of the father of the future architect Matvey Kazakov, in 1751, the famous architect Dmitry Vasilyevich Ukhtomsky (1719-1774), who built many buildings in the era of Tsarina Elizabeth, was taken to school. In addition to the excellent art school, Kazakov acquired practical skills in organizing construction, in the selection of materials and technologies. This has become his distinctive quality.
Easy accurate drawings, confident drawing of stucco details - all this was inherent in the master from a young age. He worked out his graphic skills on the best examples of the architectural heritage of the past, studying ancient Greek warrants. The architect Kazakov became a staunch supporter of an organic, classic style thought out to the smallest detail.
First experiences
In the spring of 1763, a terrible fire destroyed Tver. To restore the city was entrusted to the student of Ukhtomsky Petr Romanovich Nikitin. Matvey Kazakov, an architect included by Nikitin in his team, worked on one of the most important objects - the house for the church head of Tver. Catherine II herself praised the city restored according to new plans, calling Tver the second most beautiful (after St. Petersburg) in Russia.
The bishopâs house, which became the palace where Ekaterina stayed upon arrival in the newly rebuilt city, made the architectâs name famous, and the architect Kazakov began to receive private orders from the richest and most notable people of Russia. So, for P.F. Nashchokin he built a magnificent estate Rai-Semenovskoye on the Nara River, near Serpukhov.
Kazakov and Bazhenov
Vasily Ivanovich Bazhenov (1738-1799) - the great Russian architect, who was the same age as Kazakov. By the time they met, Bazhenov had already passed the school of European architecture after graduating from the Academy of Arts, having spent many years in France and Italy. He performed models of St. Peter's Basilica in Rome and the Louvre Gallery in Paris, absorbed the knowledge and experience of the leading masters of French classicism: Claude-Nicola Ledoux, Jacques-Germain Sufflo and others.
Unlike Bazhenov, Kazakov did not leave Russia, so he tried to add to his practical experience the Bazhenov concept of architecture as high art, to discover new beauty in combinations of volumes, in planning decisions, in the sophistication of decor. Bazhenov liked the work of Matvey Fedorovich, and he attracted him to collaborate on the grandiose orders received from the empress herself.
âKremlin expeditionâ
Catherine the Great experienced complex feelings for Moscow. The difference was too great between St. Petersburg - the magnificent European capital - and the Mother See, where the Byzantine, Asian spirit was indestructible, the Kremlin seemed to personify it. It was from here that she wanted to begin the Europeanization of Moscow, entrusting the project for the reconstruction of the city center to Bazhenov.
The grandiose project proposed by the Expedition for the Construction of the Kremlin Palace, even the Empress seemed too radical. Bazhenov proposed to demolish ancient buildings and erect a grandiose multi-storey palace, facing the river with majestic facades, and in terms of forming the closure of the main directions of the radial streets of the center of Moscow.
Within five years the project was completed, a colossal model of the Grand Kremlin Palace was made. Even the solemn laying of the new building took place and part of the wall was dismantled, but the matter did not go further. Catherine lost interest in the project, which made Moscow a threat to the greatness of the Northern capital and demanded enormous expenses. Subsequently appointed to lead the reconstruction of the Kremlin, M.F. Kazakov (an architect with more practical experience than Bazhenov) restored the destroyed part of the wall and built a new government building on the square prepared for the start of construction - the Senate. But at first he still continued to work together with Bazhenov.
The birth of "Russian Gothic"
In 1775, at the behest of Catherine, a celebration was held in Moscow on the annexation of Crimea and the conclusion of the Kuchuk-Kainardzhiysky peace with the Turks. For this, temporary wooden pavilions depicting Turkish cities were erected on the Khodynka field. The execution of these works was entrusted to the âKremlin expeditionâ led by Bazhenov, whose closest associate again became the architect Kazakov.
As a result of the combination of bizarre oriental elements and classical proportions, a festive, deliberately theatrical, decorative style was born, which is commonly called pseudo-Gothic, or "Russian Gothic". Empress Catherine really liked him, and she suggested repeating it in a more durable material, having built the Track Palace near the Khodynka Field, which she needed to relax after a long journey from the Northern capital. Kazakov was appointed to lead the project. Petrovsky Castle became one of the peaks of "Russian Gothic", making Kazakov the leading Russian architect.
Senate building in the Kremlin
When in Moscow there was a need for a large state building, it was natural that M.F.Kazakov, an architect who was at the zenith of fame and in the prime of his talent, was involved in its design. And the Senate building that he built, triangular in plan, became the new peak of his work.
The plan of Kazakov did not possess the scale of the Bazhenov Grand Palace, but he did not concede to him the quality of elaboration, the perfection of the general solution and details. The dome above the hall, where it was supposed to hold government meetings, is striking in size and technical design. Giving the entire Senate the solemnity and grandeur visible from Red Square, it helps to harmoniously fit the classic state building into the ensemble of the main square and the entire city center.
The epic in Tsaritsyno
The palace and park ensemble, called Tsaritsyno, was laid on the lands bought by Catherine in 1775. It was supposed to be the first such facility located outside of St. Petersburg. The project was commissioned by Bazhenov and involved the use of that fantasy style, which was called pseudo or "Russian Gothic", and Bazhenov called "gentle" Gothic.
For the implementation of this project, the architect took it with all the fervor. For ten years the construction of the complex was carried out, but Kazakov had to finish its construction again. Among the reasons for the monstrous anger that fell upon Bazhenov after visiting Ekaterina Tsaritsyn, they called the architect's membership in âfree masonsâ - the empress saw freemasonry as a force capable of enthroning her son Paul I. There are other opinions as to the truth â itâs impossible to find out , but completed the palaces and their entourage M. Kazakov. The architect tried to carefully treat the work of his friend and mentor, leaving some of Bazhenov's buildings untouched. The suburban residence of the Tsars of Tsaritsyno near Moscow did not become, but revived in its modern form, it is a popular holiday destination and one of the sights of Moscow.
Masterpieces of pre-fire Moscow
Since the late seventies of the eighteenth century, the architect Kazakov Matvey Fedorovich has actually become what is now called the Chief Architect of Moscow. Among his buildings are many places of worship, public buildings and private estates. Many of his works died in the fire of the Napoleonic invasion, some were rebuilt, but some outstanding examples of his work can be admired now.
"Russian Gothic" was a whim of wealthy and royal customers, and Kazakov mainly built in his favorite classical style. Such is the church of Metropolitan Philip in the Meshchansky settlement. It is interesting by the combination of volumes that are round in terms of each other and the high quality of the stucco decoration, where the talent of Kazakov-draftsman is especially visible.
An amazing masterpiece - the church of Cosmas and Damian on Maroseyka - is distinguished by a masterful combination of curved volumes and an almost modern approach to minimalism in decor. In addition to a large number of palaces, churches, private mansions, educational buildings, he built 3 hospitals, each of which became an ornament of Moscow.
A special object for Moscow Kazakov is the Noble Assembly building - the House of Unions. The facades have been rebuilt several times over a long time, but the interiors (enfilades and, most importantly, the Column Hall) convey the architectâs plan in almost original form. The huge volume, which can accommodate up to 5 thousand people, is impressive, classically harmonious.
Creator of Moscow of the 18th century
In addition to the buildings, another legacy of the architect is known - a brilliant series of masters, whose teacher was the architect Kazakov. The works of I.V. Egotov, A.N. Bakarev, O.I. Bove, I.G. Tamansky were in demand for the subsequent restoration of Moscow, then another work by Kazakov came in handy: 13 albums with plans, facades and sections of the most significant Moscow buildings .
He died, unable to bear the thought of the death of his beloved city, but the fantastic talent and enormous work of Matvey Fedorovich Kazakov could not disappear without a trace, and the revived Moscow still keeps the memory of its great builder.